scholarly journals Music groups for psychiatric patients

1991 ◽  
Vol 15 (6) ◽  
pp. 349-350 ◽  
Author(s):  
Máirín Brown ◽  
Ann Schofield
Keyword(s):  
Music Therapy ◽  
Creative Process ◽  
Psychiatric Patients ◽  
Verbal Ability ◽  
Previous Experience ◽  
Inner Life ◽  
Emotional Life ◽  
Creative Experience ◽  
Analytic Therapy ◽  
The Aesthetic

Music therapy is a non-analytic therapy concerned with the creative process in which an attempt is made to reach the emotions of the patient without recourse to verbal means. It should in theory be suitable for chronic psychotic patients and all whose verbal ability is minimal. The ability to appreciate music may persist despite psychotic disintegration and provides one way, maybe the only way, into a patient's inner life. Music is one aspect of the aesthetic or creative experience that neurotic patients often lack and for this group music may provide a broader view of emotional life than their own more narrow previous experience.

scholarly journals Actor Imaging as Constituent Creative Transformation Process

2018 ◽  
pp. 52-59 ◽  
Author(s):  
Olena Khlystun
Keyword(s):  
Creative Process ◽  
Creative Thinking ◽  
Transformation Process ◽  
Previous Experience ◽  
Stage Model ◽  
Creative Activity ◽  
Emotional Connection ◽  
Creative Transformation ◽  
The Future ◽  
Creative Experience

The article states that the actor’s mastering of the role is structurally divided into several stages, at each of which there is a certain accumulation of knowledge about the character of the play. The main theories of the structure of the creative process are illuminated in the theories of the three-act by P. Engelmayer, the three-stage model of A. Poincaré, and the four-stage model of creative thinking by G. Wallace, E. Getchinson. The imagination and creative activity of a person depend on the diversity of his previous experience, represented by the material from which the constructions of the presentation are created. It is noted that the most important feature of the imagination is its striving for embodiment. The actor designs the future physical embodiment of the character’s stage image. It is concluded that the imagination is constructed from the thoughts and visions of a person, simultaneously or alternately covering his mind. The actor profession is dominated by the emotional connection between the activity of the imagination and the act of reincarnation. The peculiarity of the actor’s imagination is the creative experience of the actor, and not his personal one. Imagination works in the preparatory analytical stage of the role as the accumulation of former emotional traces. In the process of implementing the role, these traces come to life, which leads to the act of reincarnation in the role.

scholarly journals Mythic Plots: the Experience of the Movie Interpretation

2018 ◽  
pp. 44-51
Author(s):  
Tymofii Kokhan
Keyword(s):  
Creative Process ◽  
Creative Thinking ◽  
Previous Experience ◽  
Stage Model ◽  
Creative Activity ◽  
Emotional Connection ◽  
The Future ◽  
Creative Experience

The article states that the actor’s mastering of the role is structurally divided into several stages, at each of which there is a certain accumulation of knowledge about the character of the play. The main theories of the structure of the creative process are illuminated in the theories of the three-act by P. Engelmayer, the three-stage model of A. Poincaré, and the four-stage model of creative thinking by G. Wallace, E. Getchinson. The imagination and creative activity of a person depend on the diversity of his previous experience, represented by the material from which the constructions of the presentation are created. It is noted that the most important feature of the imagination is its striving for embodiment. The actor designs the future physical embodiment of the character’s stage image. It is concluded that the imagination is constructed from the thoughts and visions of a person, simultaneously or alternately covering his mind. The actor profession is dominated by the emotional connection between the activity of the imagination and the act of reincarnation. The peculiarity of the actor’s imagination is the creative experience of the actor, and not his personal one. Imagination works in the preparatory analytical stage of the role as the accumulation of former emotional traces. In the process of implementing the role, these traces come to life, which leads to the act of reincarnation in the role.

Di Yunge

2018 ◽  
Author(s):  
Saul Noam Zaritt
Keyword(s):  
Twentieth Century ◽  
The United States ◽  
Inner Life ◽  
Yiddish Literature ◽  
Political Purpose ◽  
European Immigrants ◽  
Artistic Achievement ◽  
The Aesthetic ◽  
The Individual ◽  
Eastern European Immigrants

Di yunge is a group of American Symbolist Yiddish writers and critics that achieved prominence during the first two decades of the twentieth century and remained active through the mid-century. The name of the group is Yiddish for ‘the young ones’, referencing not only the youth of its founding members but also the sense of newness and dramatic change that they intended to bring to Yiddish literature of the period. The group was made up largely of Eastern European immigrants to the United States who had experienced the failed Russian Revolution of 1905 and the pogroms that followed in its wake. These young writers arrived in America disillusioned with socialist and nationalist politics and instead sought out new forms of cultural expression that focused on artistic achievement in Yiddish rather than any political purpose. Taking European and Russian forms of Symbolism as models, Di yunge is the first movement in Yiddish literature to emphasize the importance of the aesthetic, focusing on the poetic potential of the everyday and on the inner life of the individual writer. Di yunge was comprised of several of the most important Yiddish writers of the twentieth century, including the poets Mani Leib, H. Leivick, Zishe Landau, I.J. Schwartz, Yoysef Rolnik, and Moyshe-Leyb Halpern and the prose writers David Ignatoff, Joseph Opatoshu, Isaac Raboy, and Lamed Shapiro. Members of Di yunge were among the first to infuse Yiddish literature with the forms and themes of international modernism.

scholarly journals PENERAPAN TEKNIK KASAB ACEH PADA PRODUK SEPATU WANITA DEWASA

CORAK ◽  
2019 ◽  
Vol 8 (2) ◽  
pp. 113-122
Author(s):  
Zulfikar Zulfikar ◽  
Adi Isworo Josef ◽  
Ratna Endah Santoso
Keyword(s):  
Creative Process ◽  
New Product ◽  
Aesthetic Value ◽  
Surface Design ◽  
New Material ◽  
The Aesthetic

Indonesia has many cultural heritages, one of them are the techniques of traditional textile such as Kasab from Aceh. The purpose of this design is to invent a brand new product in ethnic women shoes diversities with edgy style.  The designs were made based on the aesthetic value and also new material as an innovation for the oldest Kasab which had been existed. The results of this creative process were 6 designs of shoes, all designs are applied on the upper and 5 amongst them were produced as 2 pairs of flat shoes and 3 pairs of wedges. Keyword : Kasab, Shoes, Surface design, Upper, Edgy Style. Indonesia memiliki banyak warisan budaya, salah satunya yaitu teknik Kasab yang berasal dari Aceh. Tujuan perancangan adalah menciptakan produk baru untuk keberagaman sepatu etnik untuk wanita dewasa dengan karakter fashion edgy style. Pengolahan visual dirancang dengan mempertimbangkan nilai estetis dan menggunakan bahan baru sebagai potensi inovasi Kasab yang sudah ada. Proses kratif dengan metode teknik ini menghasilkan 6 desain, seluruh desain diaplikasikan pada upper dan 5 diantaranya direalisasi pada 2 sepatu flat dan 3 sepatu wedges. Kata Kunci : Kasab, Sepatu, Desain permukaan, upper, Edgy

scholarly journals Craft as a source of art and technology

2016 ◽  
Vol 59 (1) ◽  
pp. 93-107
Author(s):  
Aleksandar Cuckovic
Keyword(s):  
Creative Process ◽  
Medieval Theology ◽  
Production Rules ◽  
Aesthetic Value ◽  
Modern Times ◽  
Creative Power ◽  
Art And Technology ◽  
Concept Art ◽  
The Aesthetic

Among the issues for which aesthetics today shows great interest belong those which will be discussed in this paper that are concerning: the position of art in culture, the origin and consequences of the process of aestheticization of everyday life, the role of the artist in a society, the nature of the creative process, relationship between inspiration and techniques of art, and the aesthetic value of the artifacts. Special attention is paid to the analysis of the historical development of the concepts of craft and skill, as the keys for understanding of creativity. Greeks understood the art as routine following of production rules, within the medieval theology art was interpreted with regard to a possible role in the celebration of divine creation, and in modern times it is seen as a way of expressing the creative power of man. When the man?s potentials become the pivot point of his trying to understand the world, the concept art has been rapidly differentiated into two key domains: art and technology. In the meanwhile, the separation of the autonomous domains and their mutual opposition have become the stereotypes of public opinion, and of numerous theoretical examinations, that have grounds only if it wasn?t forget their common origin and their internal kinship, or if the notion of its autonomy was relativized in the context of the whole life of a society.

scholarly journals Compositional System of Osvaldas Balakauskas

2018 ◽  
Vol 54 (2) ◽  
pp. 45-95
Author(s):  
Gražina Daunoravičienė
Keyword(s):  
20Th Century ◽  
21St Century ◽  
Creative Process ◽  
Cultural Context ◽  
Soviet Period ◽  
Aesthetic Value ◽  
Early 21St Century ◽  
The Aesthetic ◽  
Compositional System ◽  
The Relationship

Against the background of the Lithuanian professional music modernisation over the late Soviet period through to the early 21st century, the study focuses on the theoretical-compositional system of dodecatonics by the most consistent Lithuanian modernist Osvaldas Balakauskas (b. 1937). Based on it, the conceptualisation of the composer’s creative process, the modern expression construing specificity, the socio-political and cultural context, and the aesthetic value will be revealed. By interpreting the process of modernisation from the viewpoint of parataxical comparativism, the relationship between the dodecatonics and other 20th century ­stheoretical-compositional systems as well as the theoretical tradition will be examined. The issues of individualisation of the 12-tone technique and the implementation of the principles of the Dodecatonics in Balakauskas’’ compositions will be discussed. The system is contextualised in the milieu of the inculcation of “formalistic” modernist doctrines in Lithuania and the USSR and of the updating of composing systems and the development of new ones.

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